Papers by Birgit Eriksson
Anne Ogundipe og Arild Danielsen (red.): Fellesskap, konflikt og politikk: Spenninger i kunst- og kulturfeltetAnneOgundipeArildDanielsen (red.)Fellesskap, konflikt og politikk: Spenninger i kunst- og kulturfeltet290 siderFagbokforlaget 2024 ISBN trykt utgave: 978-82-450-4726-4 ISBN elektronisk ut...
Nordisk kulturpolitisk tidsskrift
Passepartout, 2025
The article investigates how Data Mirror, a large-scale participatory art project at Trapholt Mus... more The article investigates how Data Mirror, a large-scale participatory art project at Trapholt Museum brings the cultural ambiguities of textile crafts into play. Exploring the ambiguities of embroidery, the museum, the artist and 623 citizens unsettle dichotomies between tradition/renewal and individuality/collectivity, thereby uncovering textile crafts' potential for (re) connecting with the world. 1
Conjunctions, Mar 1, 2024
While participation unfolds as an object of study in its own right across a variety of social pra... more While participation unfolds as an object of study in its own right across a variety of social practices, sectors, and disciplines, its experiential dimensions are underexplored. This is the case both when we understand the concept 'experience' as a demarcated intense and sensuous state/rupture and when we use it to designate the various ways that humans perceive and make sense of the world around them. Since the influential work by Sherry Arnstein (1969) and Carole Pateman (1979), much of the research on participation has dealt with how democratic values or motivations are met (or not met) in participatory initiatives within fields like public services, policy, digital media, and cultural institutions. Here we find categorizations like full/partial or true/fake participation, as well as critiques of participation for being either symbolic, tokenistic, or manipulative-or, as in Nico Carpentier's distinction between access, interaction, and participation, not qualifying as participation at all (2012). Much of the research has developed conceptual frameworks on the different spaces, power imbalances, and framings of citizens in participatory processes (White, 1996; Cornwall, 2008; Kelty et al., 2015), or more practical guidelines on how to facilitate these processes in ways that pay attention to citizens' interests and voices (Simon, 2010, 2016; Blanche, 2014). Alongside these investigations, some studies have focused on the outcomes of participation: the transformation of traditional institutional practices and discourses, and the challenge of established distinctions between professional and citizen, or between expert and lay knowledge (Byrne & Morgan, 2018; Eriksson, Stage & Valtysson, 2020). Processes and outcomes, as well as consensual or dissensual values, are of course also experienced by the people who face, produce, and/or facilitate them. But much research is based on the point of view-and, to whatever extent they are realized, the participatory intentions-of institutions, organizers, experts, and professionals rather than on the perspective of citizen participants. Theories and empirical studies rarely explore the complex interplay between participation and experience. We therefore know little about, for instance, the differences between the experience of participating in a concert audience or crowd and the experience of a shift in power balance and influence-or between the experience of top-down facilitated and bottom-up self-organized participation. We also have limited knowledge of how the experience of participation changes over time, or of how various experiences of participation link to one another. Does repeated experience of participation, for instance, create expert participants? And what are the differences between participatory experiences that take place in museums, political movements, local neighborhoods, or social media publics? This special issue of Conjunctions focuses on these experiential dimensions of participation. A major inspiration here is Christopher Kelty's book, The Participant (2019). Kelty emphasizes that participation requires individuals who are freely choosing to take part in meaningful collectives whose sum is greater than their parts and whose "power is expected to be greater than that of its members" (Kelty, 2019, p. 17). In that respect, participation relies on autonomous individuals, even Open Access.
Conjunctions, Sep 30, 2023
The development of participatory research practices has been linked to high hopes of creating mor... more The development of participatory research practices has been linked to high hopes of creating more relevant, socially robust, and democratic forms of academic knowledge. Researchers have, however, also pointed to a discrepancy between the ideals and realities of participation, in research and elsewhere. This paper uses these critiques of participation to unfold the dilemmas of two participatory projects: RECcORD: Rethinking European Cultural Centers in a European Dimension (2015-17) and Participate: Citizen Participation in Danish Cultural Centers (2019-23). Both projects approached participation as a method that involved coresearching participants from cultural centers, and as a practice to be explored while unfolding in the centers. This paper critically discusses the methodologies of the projects by developing an evaluative framework that highlights both the participatory potentials and pitfalls of the two processes. This transferable framework is based on the concepts of '
Five Ways to Study One's Own Cultural Centre 9 CHAPTER 3 12 Cultural Centres in Denmark-The Quant... more Five Ways to Study One's Own Cultural Centre 9 CHAPTER 3 12 Cultural Centres in Denmark-The Quantitative Study 13 CHAPTER 4 18 Participation in the Cultural Centres-The Qualitative Study 19 The purpose of the report is to share and disseminate the knowledge created, so it can also benefit a wide range of cultural centres, including those outside Denmark. Keywords and Concepts Participation: 'Participation' is a broad term. In cultural centres, it refers to many different practices in which the individual user is part of a larger social context. This could be a shared artistic experience or creative production, a verbal or physical exchange, or a collective learning or decision-making process. Cultural centres provide a framework not only for cultural, but also for social and democratic participation, and it was important to include the diversity of forms of participation that take place in cultural centres. We regard the various forms of participation as equally valuable, and do not distinguish between 'good' and 'less good' participation. Cultural centre: DELTAG encompasses what we have referred to as cultural centres, and other cultural institutions that engage citizens. In the quantitative part of the study, we only included cultural centres and public libraries. We mapped cultural centres across Denmark using the definition of a cultural centre as an institution and/or place that gives space to professional and amateur cultural activities, provides for a combination of cultural and social activities, allows for citizeninitiated activities and focuses on diversity in activities as well as users. The three core research questions in DELTAG are: • Which participatory practices take place in cultural centres? • How do these forms of participation relate to the different organisational features of the cultural centres? • What are the outcomes and values of (the different forms of) participation for the participants, for the cultural centres and possibly for the local area or a broader area? More detailed descriptions of the project's methodology and results can be found in L.E. Hansen and K. Nordentoft: Kulturhuse i Danmark-et kvantitativt studie af et mangfoldigt felt 2020 www.pure.au.dk/portal/da/publications/ kulturhuse-i-danmark and B. Eriksson, L.E. Hansen and K. Nordentoft: Deltagelse i kulturhuse og andre borgerinvolverende kulturinstitutioner 2021 www.ebooks.au.dk/aul/catalog/book/429 In terms of methodology and concept, DELTAG is based on a European research and development project entitled RECcORD, in which participation was also both a research topic and method. Cf.
Introduktion
Aarhus University Press eBooks, Jan 16, 2019
Learning to Miscalculate
BRILL eBooks, 2004
Identity, Dialogism and Rhetoric
BRILL eBooks, 2004
Johann Wolfgang von Goethe
Aarhus University Press eBooks, Oct 26, 2018
Italiensk for begyndere: Ny roman fra Eco om erindring, barndom og en skizofren italiensk kultur
Hvordan studerer man kultur, hvis den både er autonom og del af samfundet?: Anmeldelse af Håkon Larsen: Den nye kultursociologien. Kultur som perspektiv og forskningsobjekt
When Borders Matter: Crafting Borders in a Participatory Artistic Project at Trapholt Museum
Journal of Borderlands Studies, Aug 7, 2022
Tasting the World
Aarhus University Press eBooks, Jul 15, 2011
Aarhus University Press eBooks, Aug 1, 2016
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Papers by Birgit Eriksson